About

I started my pottery career at Loughborough College of Art, followed by a year in London, at Goldsmiths on their Postgraduate course.  My career has taken me to many places after my studies including working in Nigeria as a VSO potter and some years later I also spent time out in South India as lead potter for a charitable trust establishing a small scale production pottery in Tamil Nadu. Inspiration for some of my work comes from the visual  journals I kept at those times with studies of nature and pots.

After returning from Nigeria I started work as apprentice Potter to John Leach, at Muchelney Pottery with Nick Rees and Lizzie Leach where I spent 3 years contributing to the production range of wood-fired pottery.

Only by immersing myself in the techniques and style of British studio pottery’s founding father Bernard Leach, was I able to find my true voice as a potter

My recent pottery studio was established in 2015 in  Colyton, Devon.
   
My pots are plainly decorated with mat or satin glazes, often speckled with iron spots that are pulled through the glaze during the reduction firing. I prefer to work with minimally refined clay which produces a more dynamic product as its variation is responsive to glaze materials and the firing process, qualities that are responsible for those freckles and rich colours. Forms evolve from the old containers and tools and pots from an early industrial age or rural artifacts that are now preserved in museum collections. These are shapes I like to revisit to find my own personal interpretation. They form an exploration of the vessel which follows some focused themes – like ovals and pancheon shapes and tall straight bottles, This is a measured approach to making – the individual work compliments the flow of tableware production, with repeat wares that become familiar and trademark shapes in the collection.

What interests me is the use of real pots in our lives that create calmness and finds ‘still centres’ in our day to day world.

I enjoy the  production of tableware which stretch the potential of domestic  ware and often play their  part in a table still-life, calm silhouettes of shape and surface grouped together.

I like to sense the peacefulness in a group of empty bowls after the enjoyment of a meal. I think this is my perfect kind of quiet moment.

I like the exactness of making in repetition and the satisfaction of a thoughtfully produced board of forms – all with a shared memory of each other.

I delight in the spots of iron that appear during firing and freckle bowls like birds eggs.

Jug handles detail

Making